Semantics of 3D Form Remote
Design Lab | 2020 | Daniel Zhu
PART 0: PROJECT DESCRIPTION
Objectives:
- Able to see and translate natural and human-made forms through various mediums
- Able to translate how individual elements constitute a larger form
- Develop 3D forms which have meaning and are aesthetically balanced and composed
- Able to understand and speak to 3D form aesthetics, semantics, and their inherent meanings
PART I: FORM + MATERIAL SELECTION
For 03/24/20, we were asked to select the three forms we will be exploring as well as the three materials we will be using to translate them.
Personal Objectives: to find the materials and tools that will be best suited for representing my forms.
Because I was able to bring back all my materials and supplies from the studio, I have access to the materials that were provided in class on 03/05/20.
Part I: Materials Available
Material 1: Foam (provided in class)
Material 2: Clay (provided in class)
Material 3: TBD
Part II: Forms and Materials Selected
Natural Form: Seashell (from class)
For my seashell model, I decided to use foam and clay. I decided to use clay for the natural form as due to its malleability, I believed it would be the most forgiving material to work with. I wanted to work with the “easiest” material first to ease into the project. I had a harder time choosing between using foam or a paper material, but ended up choosing foam. I felt that I would have a harder time expressing the twists and curves of the shell through paper, as it would be harder to express planes not aligned with the x, y, or z axis. In retrospect, however, this might not have been true…
Mouse Form: Logitech Mouse
Hybrid Form: TBD
PART II: NATURAL FORM EXPLORATION
For 03/24/20, we were asked to begin sketching the natural form and to make it out of 1–2 materials.
Personal Objectives: to develop a solid understanding of the form and volume of my shell from all angles through sketches and drawings. To select and explore the two materials to be used for my shell.
Sketches and Drawings:
To start the process, I first did a number of very loose quick sketches to explore the form of the shell. These drawings are relatively loose were meant to help me get familiar with the object.
After I had started to develop a general understanding of the form of the shell in its shapes and patterns, I decided to map out the shell in a higher level of detail to prepare for making my models.
03/24/20:
For 03/24/20, we were asked to bring in our first iteration models for both materials of our shells.
Personal Objectives: to further my understand of the form of my object, to get a better grasp on the materials I’m using and how they work, to create models accurate to the form of my shell
Part I: Clay Modeling
Over spring break, I bought some of my own clay and created a simplified first model that of my shell that focused on the the general underlying spiral shape and volume of the shell and omitted the ridges and irregularities.
To construct my shell, I identified the structures that I felt were most important for conveying the volume of the shell.
After dividing the shell into segments I moulded a piece of clay into the rough shapes of the pieces I wanted and stuck them together. Then, warming up some more clay to make it more malleable, I started to add in the curves and shape the clay into a more accurate representation of the shell.
Reflection:
Comparing my model with my shell afterwards, I realized that during the process of smoothing out the clay as well as adding and subtracting from different angles at the same time, oftentimes during my edits to one side of the of the model I would accidentally ruin the work that I did to another side. As a result, my model looks more correct from some angles than from others and has mistakes in the proportion of its parts and the shape of some of the curves. The outermost part of the spiral in particular is most distorted as it bent easily due to how thin it was. Overall, however, I found it useful as an introduction into using clay.
Part II: Foam Carving
Because I hadn’t worked with foam or other subtractive methods before, I had to develop a new strategy for the foam carving of the shell. To start, I watched the video Laura posted on canvas to get an idea on the general process.
Following the video, I first broke off a chunk of foam and traced a rough outline of the shell from one angle on the surface of the foam. I then cut along the outline until I had the rough shape of the shell from that one angle. Next, I rotated the shell 90 degrees from the angle I started with and began to work on cutting out the general form from that angle. After this process, my shell was roughly accurate from a front and side view but had sharp edges and no curves.
To capture the curves and rest of the form, I started making smaller more deliberate cuts while gradually rotating the shell in an attempt to make it more accurate from every angle. Like with my clay model, I decided to just focus on the general form and ignore the the ridges. Finally, to create the opening of the shell, I dug into the surface of the foam with my blade from different angles to pry out the foam. I found it much more difficult and awkward to carve into the foam in a concave manner than to shave pieces off the outside of the foam. It also took much more work to get a clean cut and texture.
Reflection:
Overall, I the form I ended up with still had many inaccuracies with the shape, with the strategy that I used leading to my shell being more accurate from the front and side views but not from more irregular angles. Although I was not able to be as accurate to the form as I wanted, I feel like this iteration was useful for getting used to working with foam and becoming familiar with its benefits and difficulties.
Iteration I Models:
03/26/20
For 03/26/20, we were asked to take the models we made to a more refined stage approaching the final level of completion.
Personal Objectives: to refine my craft and process in both clay and foam to generate a more consistent and finished form, to be able to incorporate the ridges of the shell effectively into my models,
Part I: Clay Model
During class on 03/24/20, the feedback I received on my clay model fell into three categories, errors in the proportion of the parts in relation to one another, differences in the shape of the outer curve and in the inner spiral, and the lack of ridges and other detailed features.
For this iteration, I wanted to address these issues and develop a a more accurate model overall. In this model, I also used the studio provided clay instead of the clay I bought myself.
Starting the model, I used the same basic process as the one I used for my first iteration model: I started with the loop just inside the outermost loop of the spiral, added smallest three on top in tiers, then the skinnier part on the other side. I added in the outermost part of the spiral last, then the ridges with strings of clay. Reflecting on the feedback I received for the last model, I tried to pay more attention to the proportions of the shell to make sure I had down more accurately. Also, because I included the ridges in this model, I was able to better secure the outermost curve of the shell with thicker ridges of clay.
Reflection:
I feel like this iteration of my shell is an improvement over my previous version in terms of being an overall representation of the form. However, there are still some inaccuracies with the proportions of some of the parts. The neck of the shell ended up being too long compared to the actual shell and the surface of the clay ended up less smooth and consistent than I would have wanted.
Part II: Foam Model
During class on 03/24/20, most of the feedback I got on my foam model had to do with the proportions of my model as well as the omission of the ridges.
For my second iteration, I had to slightly change up my process to be able to incorporate the ridges in my model. Instead of cutting the general curve, I mapped out the outermost points of the ridges on the shell for each section. I then used the same process I described in my first iteration except that the shape I created was constrained to include the ridges as well, so the model was larger than the first iteration. I then started cutting the ridges out of the model one at a time before shaving down the rest of the model in an attempt to focus more on the spiral form of the shell.
Reflection:
Unfortunately, the strategy I used didn’t quite work as I had not mapped the ridges accurately enough. After I had cut the ridges from the rough outline I created, I found that some of them were slightly off in their positioning and due to this I found it hard to accurately capture the spiral of the shell within the form that was left. I also made a few major mistakes in cutting out too much foam in a few places. In short, in my focus to correctly portray the ridges, I neglected to overall form of the shell and its spiral.
PROCESS VIDEO:
Final Iterations + Plans for the weekend:
After making my second iterations for both clay and foam, I want to create a completely new iteration for my foam model. Although Dina suggested cutting my current model down even smaller in class to remove inaccuracies, I realized afterwards that I had cut out too much in some places for that to be possible. I will also refine current my clay model further to be more accurate.
PART II: MOUSE FORM
For 03/32/20, we were asked to bring in our first iteration models for both materials of our mouse models.
Personal Objectives: to further my understand of the form of my mouse, to get a better grasp on the materials I’m using and how they work, to abstract the form of the mouse suitable for paper
Mouse Study:
General Observations: my mouse is symmetrical with completely rounded corners. Unlike some other mouses, it doesn’t have very prominent grip indentations on the side or for the pointer and middle finger.
Paper Model:
Material Selection:
Going into this iteration, I didn’t have any Bristol or firmer paper, so I decided to use a Cheerio box instead.
Working with this material, I found it was strong and held its shape easily. On the flip side, it was difficult to bend or score, limiting me to strictly flat planes. I also found the colors and texture slightly distracting.
General Thought Process:
Going into this first iteration, I didn’t have the clearest idea of how I wanted to construct my mouse as I had not worked with paper previously. I decided create a waffle like base and wrap the the flat surfaces around it. All the planes would be perpendicular to the base.
Cutting the Pieces:
Starting off, I traced the base and side panels of the mouse. These are also the only completely flat parts of the mouse.
Grid Axes:
To capture both the x and y vertical axes I traced the mouse onto a loose sheet of paper at various distances from the sides. I found this tracing method difficult however, because it was difficult of accurately trace the curve because of the thickness of the pencil and having to hold it completely straight. It was also difficult to trace curves across the body of the mouse and not just the outermost curve. As a result, I ended up only getting two pieces per axis. I then cut slits into the pieces and slid them together.
Iteration I:
Foam Model:
Like with the natural form, I used the foam provided in studio and a thin Olfa knife. I also used the same approach as I did on the natural form.
I cut out a relatively moused size block of foam, traced an oversized outline of the top view on the foam and cut it out, repeated the same process for the side view, then gradually shaved off pieces to round out the corner and complete the form.
Iteration I:
For iteration one, I think I was relatively successful in capturing the way the mouse curved overall. However, I found that In some places, especially the top, I had shaved off too much and ruined the flow of of the piece. I also didn’t include the scroll wheel and ended up scoring the foam instead. I also didn’t like how random the cuts felt and how they weren’t as structured as the curves on the actual form.
Iteration II:
Following the same process, I ended up creating another iteration, this time including the scroll wheel and focusing on being more careful with my cuts.
However, I ran out of time with this iteration and ended up not making it as refined as the previous one. As a result, it is missing the taper near the back and is too boxy, missing the more gentle curves of the mouse.
In class Critique: the taper in the back is missing, the scroll wheel is too far back, the front lip is too high, overall the form is too boxy.
PART III: HYBRID FORM
For 04/07/20, we were asked generate some ideas for our hybrid form and bring in some sketches and an iteration for class.
Personal Objectives: to identify the defining characteristics of the mouse and shell, to find ways to manipulate and combine those characteristics in a way that’s both pleasing and reminiscent of the original form, to generate a number of solid initial concepts,
Taking a second look at the given forms…
To begin, I did a set of simple studies of my mouse and shell. My goal with these sketches was to make another pass at understanding the essential qualities of each object. Although I had thought about the curves and volumes of each object before, I studied them with the goal of recreating them in mind. Now that we need to create a new form, I needed to look at them through a different lens. Although the drawings look similar, I tried to identify the essential characteristics of each object, what I could stretch or bend while still maintaining something reminiscent of the original form.
After making these sketches, I decided to make a list of words to draw my five specific words from. The thought process I went through involved holding my object in one hand, then jotting down the words that came to my mind in an almost stream of consciousness kind of way. As a result, I have many words in the list that mean basically the same thing, as I started throwing words at the page in an attempt to capture the quality I was seeing in the form.
Looking at my form, I tried to capture a variety of characteristics ranging from a more macro/micro scale or even along a more abstract or emotional level:
Shell: Spiral, Ridges, natural/irregular qualities
Looking at the shell, the first thing I tried to capture was the general spiral structure of the shell. This included the concept of spirals themselves as a shape, the mathematical way they diminish in size, as well as more abstract concepts like rapid growth/expansion, or the sense of natural flow I associate them with.
The next thing I was fixated on was the repetition of ridges on the shell. On the macro scale, they appear as wavy ridges climbing the whole length of the shell. I specifically looked at the way they appear consistently in patterns of three along the spiral, and how they alternate between prominent and less prominent ridges. Other qualities I noticed at this scale was how they feel like they function as support structures and balance between feeling aggressive with their sharp curves and defensively supporting the rest of the shell’s fragile skin. On the micro level, I was interested in the construction method of the shell. Almost like a 3D printer, the shell material appears to have been almost secreted in layers, resulting in a serrated texture spanning the whole surface perpendicular to the larger ridges.
The last main characteristic I focused on capturing was the natural/irregular qualities of the shell. What I mean by natural/irregular is how the shell appears to be conforming to patterns or to almost be “designed,” but is shaped by the environment to become warped or inconsistent in some way. One way I thought of this was that the shell was reacting to the environment as it was being built. I wanted to capture the sense that it was reacting to the environment, shoring up weak points that were being tested, or being permanently bent or curved.
Mouse: Tension/Anticipation, fillet, designed
The first characteristic that I focused on for the mouse was the central arch that I followed through the form. The mouse has a general curve across the top of the mouse that bends back in before reaching the bottom surface. To me, the slope of the top felt aggressive, almost like a sports car with the mouse leaning forwards. However this characteristic was also balanced by how the curve in the back leans so far in, balancing out the aggressiveness of the top. This effect reminded me of a stalking tiger, for example, leaning back on its haunches before leaping out, or like a compressed spring. This is where I got arched, tension, and spring.
Another quality I tried to capture was the rounded construction of the mouse.
The bottom and side panels are completely flat and the top is subtly curved. Connecting these largely flat surfaces are these curves that smoothly blend from side to side. The thing I wanted to express was then sense of seamless transition between flat surfaces. This reminded me of the “fillet” function in Autodesk that rounds edges, and also made me think of slippery, seamless, and subtle.The last thing I wanted to capture was the intentionality of the mouse. Although it was obviously designed, I wanted to focus on how the symmetry, curves (that I previously mentioned), and general shape reminded me of. In a weird way, it felt like the combination of these factors made the mouse feel almost “too perfect.” Like what an egg aspires to be before being beaten down by gravity and friction and the real world. This was a really vague characteristic that I never really got a handle on in a more concrete way.
Generating Concepts…
Following my brainstorming and observation, I started creating concepts based on 5 words from the list and tried to use a different construction method for each concept.
With the words listed above, I used the construction method of following the top/back curve of the mouse and using ridges or a ribbed structure to follow that curve. This split into two concepts, a caterpillar-like one where I emphasized a more aggressive spiny look and a more smooth defensive version with the ridges running the other direction.
In this next concept, I identified the most prominent outer ridges of the shell and attempted to construct the with the “fillets” on planes method I described for the mouse. I then started adding in the spines of the shell to get a more aggressive look. Ultimately, I wasn’t confident enough in my ability to recreate the “mouse construction method” to proceed. I also thought this model might get too thin in places to be convenient for clay.
The final concept I had involved using the arched shape and the aggressive yet waiting characteristic I liked in the mouse as a general baseline and attempting to incorporate the natural, responding to the environment, sense I had gotten from my shell. This is the most abstract idea I had as well as one that I felt almost leaned too much into the original mouse form. To slightly alleviate that I tried to accentuated the curve of the form and make it rounded overall, getting rid of the flat planes entirely. I also split this concept into two versions.
For class on Tuesday, I made a rough model of version A to see if it was viable…
Creating this model was pretty rough and I struggled to recreate the proportions and shape in my sketches due to the structural qualities of clay and my craft. I also ran into time constraints.
Feedback: During class on Tuesday, Laura suggested focusing more on the symmetrical element of the mouse as well as considering how hollow or not hollow the inside was. Q also talked about the naturalness of the curves in the sketches and being able to recreate that in clay. Both also talked about balance and the bottom of the form.
Second iteration…
Based on the feedback I got, I started generating a new set of sketches. I tried to take into account the flow of the structure and other elements.
I ended up going with the bottom design to translate into clay. I tried to make the openings almost reminiscent of the shell, with the holes on the side reflecting the opening of the shell and transferring the ridged forms roughly onto the two openings on the opposite side.
During the process, I started to become fixated on the ergonomics of the form and began to work towards being able to grip the form. I realized that curves I had planned happened to also fit my fingers in a satisfying way. As I worked, I began molding the curves to be able to fit my fingers. This meant that I deviated from my original plan, but ended up strengthening the ergonomic characteristic. Shown below are the two ways I made to grip my form.
Reflection:
Ultimately, I’m not sure that my decision to focus more on the ergonomics paid off. I started changing the shape later in the process and didn’t do sketches to compensate. This meant that I lost the form I originally drew out and the outline of the sketch, although, I made sure to maintain the arch. In the end, I’m not the happiest with the final shape of the hybrid because of the changes I made to. If I were to do another iteration in the future, I would either keep ergonomic elements to the general shape or consider them more thoroughly in the sketching process.
PART IV: REMAKING MODELS
For 04/13/20, we needed to finish up the project and submit our final models.
Personal Objectives: paper mouse model, foam mouse model, foam shell model
Paper Mouse:
Based on the previous feedback I got, I went into this iteration trying to make the lattice structure more descriptive of the volume of the mouse. To determine where I would place each axis, I decided to base the placement off of how quickly the surface curved and increase axis density in more curved areas. I also decided to angle the axes on running the width of the mouse to express how the top curved.
To get the right proportions, I printed out side and front views of the mouse at a consistent proportion and cut out sections from the printouts to have more control over the contours. This mostly worked well, Although I did worry about distortion in the photographs.
Reflection:
Due to time constraints, I didn’t really think about adding elements beyond the lattice structure. Unfortunately, this means I feel like my expression of the volume of the mouse is limited mostly to the side view. If I had another iteration, I would experiment with adding panels on the top and more width-wise axes to better convey volume from the top and front/back.
FOAM MOUSE:
Coming out of my previous foam mouse iterations, I mostly had the form of the mouse down in my head. The primary thing I wanted to focus on was improving my craft. As a result, I mostly followed the same process as the previous iterations, just keeping in mind the mistakes I had made before.
Reflection:
In the end, I felt like I had the side profile mostly correct on this iteration, although the tapering in the back is not as apparent as I would like it to be. Also I think my caution with cutting the corners in retrospect made the the form a bit too boxy. If I had more time I would work on continuing to refine the shape I created. I would also tone down the scroll wheel.
FOAM SHELL:
Reflecting on my previous models, I felt that my method of construction was making the process too difficult as the spiral got smaller. In previous models, I had attempted to render the ridges all the way up the spiral by first cutting out the outline of the shell around the ridges, then carving the spiral out with the ridges intact. However, I found that my level of craft was not high enough to accurately keep the ridges and spirals at the same time as the spiral got smaller.
In this iteration, I decided to address this problem by getting rid of the ridges on the third tier of the spiral and above. I kept the ridges on largest curve of the spiral, however, as I felt they were too important as a part of the character of the shell.
Reflection:
In retrospect, I found it difficult to express the irregular curves and ridges of the shell in foam. Because I had to chose what to abstract, how much, and so on, everything depended on how I chose to interpret the ridges. Other than craft, I found it difficult to abstract away parts of the shell and still have it fit the general shape and silhouette.
OVERALL REFLECTION:
On the whole, I found this project extremely interesting in learning the process of breaking down the form and characteristics of a 3D form. I feel like I have more insight into the forms of man-made objects and can now see the forms of objects in a different way. I also really enjoyed coming up with concepts for new forms based on my mouse and shell. I think that helped me in trying to identify key characteristics of objects and being able to work based on those characteristics. Overall, I was not quite fully satisfied with any of my models, I feel like in each case I still had some errors in the craft or form that I needed to fix. I also feel like my hybrid form is incomplete. I got trapped between two ideas in the end and the combination didn’t become what I wanted. However, overall, I feel like I learned a lot from this project and enjoyed the process.
